Charting the artist's first expression of his now iconic series in his art school days at Goldsmiths, London through to the unprecedented global exhibition held by Gagosion Gallery in 2011, which the catalogues takes its name, the spot-aesthetic has emblazoned over 1000 artworks across nearly three decades.
The 929-page full colour tome - published by Other Criteria in conjunction with Gagosian Gallery - documents one of the most prolific and recognisable visual images from the late-twentieth century that has experienced phenomenal mileage beyond the white cube walls, appreciated by the worlds of design, fashion and luxury. The publication looks at the significance spot paintings have had on popular culture, transcending accessibility with a host of brand collaborations from Becks to Manolo Blahnik.
The spot-aesthetic has by no means lost its virility. Since 2011 we have seen yet more demand for the systematic spots in addition to Hirst's other signature styles of colour, carats and chemicals showcased in the celebrated retrospective at Tate Modern, London in 2012 and subsequently in the largest survey of the artist's career at ALRIWAQ, Qatar Museums Authority in Doha.
The launch of such a comprehensive publication alludes to the end of what is arguably one of Damien Hirst's most important veins of investigation. Is the controversy, or even empowerment, of ending a chapter of his practice too irresistible for the artist who relishes on throwing art world convention into a spin?
Read my full article Full Stop To Spots? and view further images from ‘The Complete Spot Paintings 1986-2011’ at the Ohh Deer blog.
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Images courtesy of Other Criteria
